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Sinfonia per uno strumento solo
_4.48 Psychosis _is a gesture of trust and complicity toward the theater and at the same time a cry of rage against the world. Kane continues with this text the path of progressive disintegration of dramatic structure that she had started in her previous experiences. In Psychosis there are no longer characters but voices that tell, cry out, suffer and even play, intersecting with each other and stealing time. Fragments of experiences, memories, smells and sensations, resurface to the memory in a chaotic, sudden way, with no apparent logic: all however united from a common denominator, pain. No more captioning, no more set design, in this latest effort by Kane: the theater goes back to being an absolute, harsh cavity, with no suggestions or consoling effects, no illusions. Punctuation also disappears then, and even the setting of the written page undergoes constant shudders, typographical earthquakes, as if the words automatically detach themselves from their natural context to rise to autonomous life, like stones from hurled at someone. Theater can, knows and must throw its provocations, its stones at the well-meaning, otherwise it has no reason to be. Every process of evasive sweetening, of gratifying respectability, of civic composure, of success, of integration into institutions, is actually the very grave of theater.
by Sarah Kane
with Micaela Ezra
directed by Walter Pagliaro
Gianni Santuccio Cultural Association production
stage layout to by Walter Pagliaro
assistant director Ilario Grieco
translation Barbara Nativi
costumes Theatrical Tailoring "The Attic"
photo by Mattia Simoncelli
A student of Rina Morelli, she never studied acting. She made her theater debut to only 13 years old in Chekhov's The Cherry Orchard, directed from Luchino Visconti, in the role of Anja. There she met Rina Morelli and many of the most important actors in Italian theater who would become her masters and idols. In fact, while still a teenager she plays many television dramas such as Calvino's Creatura umana, with Salvo Randone, Moravia's Beatrice Cenci with Gianni Santuccio, Brusati's La fastidiosa with Lilla Brignone, Miller's Uno sguardo dal ponte, with Raf Vallone, N.'s L'inserzione. Ginzburg with Adriana Asti, Buchner's Morte di Danton, with Gastone Moschin and again Schiller's Luisa Miller, Ibsen's A Doll's House,_ I Nicotera _with Turi Ferro and Gabriele Lavia, Philo Vance with Giorgio Albertazzi, Nero Wolfe with Tino Buazzelli, Remember Mama with Andreina Pagnani, Silone's La volpe e le camelie, with Lauro Gazzolo and many other prestigious works.
While still a child she thus understands that the only way to become an actor is to listen to the teachings of the Masters. At the same time she begins to working in film.
Recall: Made in Italy by Nanni Loy with Anna Magnani; _Le adolescenti _ by Gianvittorio Baldi; Operazione Paura by Mario Bava; Un fiocco nero per Deborah by Marcello Andrei; Altissima pressione a musical directed from Enzo Trapani.
But her passion for theater and humanism took her to the best Italian and European stages, directed from Giorgio Strehler, Franco Enriquez, Massimo Castri, Luca Ronconi, Terry Hands, Antonio Calenda, Walter Pagliaro, always in leading roles.
We recall: _Elettra _by Sophocles, at the Greek Theater of Syracuse; Medea by Seneca, at the Teatro Antico of Segesta; Celestina by De Rojas, Teatro di Roma; Phaedra by Racine, National Academy of Dramatic Art; Il Campiello by Goldoni, at the Piccolo teatro in Milan ; Stella by Goethe, at the Piccolo teatro in Milan; Corneille's Illusion Comique, at the Piccolo teatro di Milano; _Il Malinteso _by Camus and Sartre's Porta chiusa, at the Teatro Stabile dell'Umbria; Euripides' Le Baccanti, at the Teatro Greco di Siracusa; Ajax at the Teatro Greco di Siracusa; Sophocles' Trachinie, at the Teatro Greco di Siracusa; _L'accompagnatrice _by Nina Berberova; La Marchesa Von O. by Kleist and Signorina Else by Schnitzler, at Luciano Damiani's Teatro dei Documenti, to Rome; and countless other performances.
"National Association of Critics Award" for Signorina Else; "Flaiano Award for Theater" for Signorina Else; "Ombra Lifetime Achievement Award" at the Greek Theater in Syracuse.
He is one of the most important and significant voices in Italian dubbing, giving voice to international actresses including Kim Basinger, Jessica Lange, Winona Ryder, Sharon Stone, Marg Helgenberger, Helena Bonham- Carter, Jane Birkin and many others. Oscar-winning voice acting for Kim Basinger in L.to. Confidential.
Walter Pagliaro, director, architect, and lecturer was for ten years among the closest collaborators of Giorgio Strehler, who made him debut at the Piccolo Teatro in Milan with Beckett's Waiting for Godot and Corneille'sIllusion Comique. from that time Pagliaro has produced more than 100 shows, including prose and opera. from recall:_The Prince of Homburg_ and _Anfitrione _by Heinrich von Kleist, at the Teatro Stabile di Genova; Timone d'Atene by William Shakespeare, at the Teatro Stabile di Torino; _Il malinteso _by Albert Camus and to porte chiuse by Sartre, at the Teatro Stabile dell'Umbria; _La governante _by Brancati and La Mennulara by Simonetta Agnello Hornby, at the Teatro Stabile di Catania; Letteratura by Schnitzler; Praga magica by Ripellino; La Cagnotte by Labiche, for the Festival dei due mondi in Spoleto. In 1995 he founded with Micaela Esdra the Gianni Santuccio Cultural Association, with which he produced: _Casa di Bambola _by Ibsen, _Antigone _and Electra by Sophocles; Time and the Room by Botho Strauss; The Chaperone by Nina Berberova, _Signorina Else _and the Contessina Mizzi by Schnitzler, Phaedra by Racine, The Love of Phaedra, by Sarah Kane, At the Goal by Bernhard, etc.
Operatic directorships include: Wagner's L'anello del Nibelungo, Teatro Petruzzelli in Bari; Bellini's La Norma, at the Massimo in Palermo; La Battaglia di Legnano at the Bellini in Catania and at the San Carlo in Naples; Mozart's La Clemenza di Tito, at the National Theater in Prague, the Petruzzelli in Bari and the Teatro Comunale in Modena; _La favorita _by Donizetti, La Molinara by Paisiello and La brocca rotta by Testi at the Teatro Comunale in Bologna.